Future Cargo Programme

Requardt & Rosenberg was established to create dance performance away from the auditorium and studio either in outdoor locations or within temporary structures. Their desire is to make performances that are highly visible, unique events in order to engage a wide audience in a distinctive format. Requardt & Rosenberg combine both the spectacle of large-scale dance performances and the delicate integrity and intimacy of the audience experience through binaural sound.
The goals of Requardt & Rosenberg’s current practice include:

• An exploration of different spatial relationships between audience and performance.
• The creation of dance works that take as a starting point an architectural constraint.
• The creation of models for the construction of temporary performance spaces that can tour and could be reproduced around the world in order to provide an alternate touring network for international work.

Frauke Requardt trained in Germany, New York and London. As well as directing dance and performance, she has also worked as one of Lea Anderson’s Cholmondeleys. Frauke was a Work Place artist at The Place, and is now an Affiliate Artist. Her full-evening works to date include Jammy Dodgers, a fantastical world, with a rolling line up of bands from the London contemporary Jazz scene; the Lynch-esque Roadkill Cafe; and Pequenas Delicias, an absurdist site-specific piece; Episode premiered at The Place (June 2011); Mothers (2017), an anarchic response to her experience of being a new parent; and most recently Dadderrs (2019) with Daniel Oliver.

David Rosenberg co-founded Shunt to pursue an interest in the role of an audience in theatrical productions and directed all their shows: The Ballad of Bobby Francois, Tennis Show, Dance Bear Dance, Tropicana, Amato Saltone, Money, The Architects and The Boy Who Climbed Out of His Face. Working with Glen Neath he has made three shows: Ring, Fiction and Séance, which are all in complete darkness and create imaginary environments with audio. Most recently he worked on Wiretapper, a performance hidden in public spaces using a phone app to deliver the sound to the audience.

Hannah Clark is a London based set and costume designer working in opera, theatre and dance. She trained in theatre design at Nottingham Trent University and Central School of Speech and Drama. She was a winner of the 2005 Linbury Biennial Prize for stage design. She is a frequent collaborator of Requardt & Rosenberg. Hannah designed DeadClub™ (2017) and Motor Show (2012) and was the costume designer for The Roof (2014).
Hannah has designed in a variety of spaces including Shakespeare’s Globe, Manchester Theatre Royal Exchange, Lyric Hammersmith, Regents Park Open Air Theatre, Soho Theatre, West Yorkshire Playhouse, Bristol Old Vic and Barbican.
Current and forthcoming productions include: Berenice for the Royal Opera House; Eyam for Shakespeare's Globe; Silent Night for Opera North; L’incoronazione di poppea for Opera Theatre of St Louis; and Mitrridate, Re Di Ponto for Garsington Opera.

Brothers Ben & Max Ringham have worked together in music for over 15 years. Initially as Narcosis producing drum and bass and Breakbeat for seminal dance label React, then as two thirds of avant-pop band Superthriller with whom they have released four albums, toured extensively in the UK and Europe and played to large festival crowds.
Max and Ben have produced scores and sound designs for major productions extensively throughout the UK and beyond. They are associate artists with the Shunt collective, collaborating on large scale site specific shows such as Dance Bear Dance (2002), Tropicana (2004) and Amato Saltone (2006) and were sound designers on Motor Show (2012) and Electric Hotel (2009-2011).
Other venues that Ben and Max have worked in include the National Theatre, the Old Vic, Donmar Warehouse, Sheffield Theatres, Almeida, Chichester Theatre and Sadler’s Wells.

Malcolm Rippeth is a London based lighting designer working across opera, theatre and dance. He was an associate artist of Kneehigh for 20 years, lighting productions including Brief Encounter, Tristan and Yseult and The Red Shoes, and was lighting associate to Shakespeare's Globe under Emma Rice. He has recently worked at the National Theatre, Old Vic, Glyndebourne, Santa Fe Opera, Badisches Staatstheater Karlsruhe and Opéra de Marseille. He is the recipient of a WhatsOnStage Award and a Village Voice OBIE, and has been nominated for Los Angeles Drama Critics Circle and New York Drama Desk Awards.

Jordan started to dance through the Royal Opera House chance to dance scheme, he went on to study at the BRIT School of Performing Arts and graduated from London Contemporary Dance School. Jordan has worked for dance theatre companies at the Young Vic in a production called The Marbleous Route Home as well as for Fuel in co-production with The Place, DeadClub™ directed by David Rosenberg and choreographed by Frauke Requardt. Jordan performed at Sadler’s Wells in Crystal Pite's Polaris and Jérôme Bel’s Gala. Jordan has worked with Ballet Soul in OTHELLO21 as Iago.
He also performs at art galleries, fashion shows, plays and operas such as Leoš Janáček’s From the House of the Dead directed by Krzysztof Warlikowski in countries around Europe, at the Royal Opera House and on tour in Brussels La Monnaie de Munt and Opera de Lyon.
Commercially Jordan has appeared in feature film Rudeboy playing Desmond Dekker, TV show HBO’s The Third Day and many music videos such as Frank Ocean’s Nikes.

Makiko is a Japanese born, London based movement artist and performance maker. Since graduating from Northern School of Contemporary Dance, Makiko has regularly collaborated with Lea Anderson, Frauke Requardt and David Rosenberg and Clod Ensemble. She is currently creating a new immersive dance performance using origami for children under 5 and their families, with dance artist Takeshi Matsumoto.

Growing up in the East Midlands of England, Ruben started his training on the Dance4 CAT scheme in 2010 and later, the National Youth Dance Company in 2013. He then went on to train at the London Contemporary Dance School. After graduating in 2017, Ruben first performed for Frauke Requardt & David Rosenberg in their production DeadClub™ at The Place Theatre, London. Since then, Ruben had been freelancing between Brussels and the UK. His performance highlights over the past couple of years have included working with Kyoung-Shin Kimin Seoul for MODAFE Festival, and performing with Blind Summit Theatre in a special performance of Peter and the Wolf with the Philharmonic Orchestra of Los Angeles, at the Hollywood Bowl.

Anders is a Swedish/British, non-binary, performer and choreographer and grew up in South Devon. In 2014, they graduated from London Contemporary Dance School and joined Maresa Von Stockert’s Tilted Productions for 5 years working alongside dancers and circus performers in both indoor and outdoor work. They have also danced for choreographers including Lea Anderson, Kasia Witek, Jose Agudo and Protein Dance and in their own work, most recently Well Lit, which premiered in Sweden in 2020. They completed their MA in Performance at LCDS in 2019. Their current work, Mapping Gender, is an exploration of gender and landscape.

Valentina started her career as a dancer training at London Contemporary Dance School. Since graduating in 1994, she has been working as a performer, co-creator and rehearsal director across theatre, opera and film. She has worked with several dance companies and directors including New Adventures, The Cholmondeleys, Fevered Sleep, Simon Vincenzi, Fabulous Beast, Vincent Dance Theatre, English National Opera, Sasha Milavic Davies, Andy Field, Made in China and Paramount Pictures.
Her interest in film has seen her develop a parallel career as a freelance camera operator, specialising in the capture of live performance and becoming one of the in-house camera operators and directors at The Place Theatre since 2006.
For Requardt & Rosenberg, Valentina has performed in and helped create The Motorshow, Walking like Natives and DeadClub™.